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Last year, a new film adaptation of The Three Musketeers came out. (French, Part 1, Part 2)
I watched Part 1 first; the fight scenes are amazing. The scene of the arranged duel between D'Artagnan and the three musketeers that turns into a brawl with the Cardinal's men is particularly fantastic. The style has a flavor of Cinéma vérité in that it's a continuous and somewhat shaky take from a point of view of an unseen witness who keeps turning to catch the action while ducking away from danger, but it deviates from Cinéma vérité in that everyone fighting is super-competent. In this seemingly-continuous shot, one catches glimpse of feats of martial arts moves, all geared towards dispatching the enemy, none are for show. It's very cool and impressive, and worth watching for that scene alone.
Every film adaptation makes decisions about how much of the original material to use, and how closely to stick to the plot. When it does, that's a deliberate choice on the part of those who made the film. Sometimes it's a little change: Porthos is bi; Constance is not married and yet runs a hostel while working in the queen's chambers. It's annoying to have such present-day sensibilities undermine the portrayal of a society very different from mine, but I figured that at least these changes didn't utterly contradict an essential part of the story.
And then I watched Part 2.
Milady from the book is one of my favorite villains. She is smart, adaptable, ruthless, resourceful, flawed, vicious, and above all feminine. She wields femininity as a weapon far more effective then mere swords and muskets. Why dirty your hands, when you can manipulate men to do it for you?
In this adaptation, Milady is a sword-wielding girl-boss.
When an otherwise-good adaptation takes an awesome feminine villain and replaces her with someone who might as well be a man, that's a deliberate choice. That choice dismisses the idea that femininity can be dangerous to one's enemies or efficacious for achieving one's goals. It's therefore ironic that the people who made this choice consider it a feminist move.
Fiction is not associative: strong (female character) != (strong female) character.
Well, no, it's not ironic at all actually. The writers know exactly what they're doing, at least at a subconscious level. The idea that femininity could be manipulative and dangerous is a bad look for women, so obviously they would rather not depict such characters.
Feminism as a concrete social movement is about advancing the material and social interests of women (or at least, the interests of a certain subset of women). It's not about "giving people the freedom to explore their identities" or "recognizing the complexity of every human" or any claptrap like that.
I think it's far darker than that. They want to erase the notion that women can ever be manipulative or duplicitous from men's cognitive toolkit to make them easier abuse victims.
I remember when I first discovered the term "passive aggression" in my late teens. Somehow I had never encountered it, or any concrete definition of it, in all my childhood and teenage years under matriarchal rule at home and at school. And suddenly, when I discovered it, it made years and years of exiting every interaction with a female peer or woman with authority over me with profound negative feelings about myself make sense. "Oh, this is how they've been attacking me all these years, why didn't anyone ever tell me this was a thing?" Well, all the people guiding my intellectual development were women, so of course they never told me. And for whatever reason the men in my life were too cowed to pull me aside and explain to me the emotional weapons women have at their ready, or how to defend myself from them.
Maybe it's just me. I don't know. But it seems there is a constant conspiracy of silence about the ways women can victimize men, such that there is a perpetual effort to erase it from culture and bodies of common sense.
Possibly, in some circles even probably, but historically (I write that without solid support beyond my assumption) this type of behavior has been invisible. To be too brazen or overt (by, say, throwing a shoe, or, imagining Connie Corleone, breaking a bunch of dinner plates and sloshing the pitcher of wine over the veal) is to reveal oneself as an aggressor and thus drop the plausible deniability (if I may borrow a CIA term).
Any physically vulnerable or weaker player will necessarily develop strategies to compensate for this weakness, and passive aggression done well is like an art form. Its sisters, cattiness, backstabbing, intrigue, manipulation, these are the fey but effective weapons of the court (or dining table) as opposed to the battlefield or backyard. And to repay cattiness with a smack up the mouth is forbidden (and ineffective), just as to answer a blow to the jaw with a withering comment doesn't win fights.
This is nothing that everyone here is not already aware of (probably. Some might take issue ) I suppose my point is that this behavior gets modeled and copied, the same way swagger and volume of voice and strongarm get modeled for growing boys. Modeled without being so much overtly talked about.
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